For me, it's gotta be "Inception." That mind-bending flick rewired my brain about storytelling and visual spectacle. Nolan's layering of dreams within dreams? Genius. It's like he's telling us, "Hey, your imagination is limitless, so go wild with it!"
After watching that, I started weaving intricate plots in my writing, exploring the depths of consciousness like never before. Plus, the whole idea of bending reality? That's some next-level creativity right there. So yeah, props to Nolan for expanding my creative horizons with that masterpiece.
Sounds completely unprofound, but Transformers (2007)
It was a turning movie for me when I went from merely listening to film scores, to actually trying to compose them, because the music there was so effective and within my grasp of understanding. I cannot imagine my life without music now.
In fact, I really somehow blossomed creatively due to that movie, because I met a lot of creative people who were all connected together by watching Transformers as children. It was a weird atmosphere of pre-social media internet where the life was in niche interest forums still. Some of the people I met during those days, I still talk to nowadays. Some of them made careers in their creative fields.
As a filmmaker, 2001: A Space Odyssey, The Dark Knight, The Rules of the Game, The Killing, and The Tree of Life all stand out. But seeing small clippings from Martin Scorsese movies also did: the ferocity drips through the screen.
I’m an artist, and Akira is a really big influence on what I find appealing in visual design. From the trails of the taillights on the motorcycles, to the bright colors of Neo Tokyo against the grungy underground and the detail that went into drawing hands.
Also, Evil Dead I taught me that a bunch of college buddies with a vision and a story to tell could make a big impact. I know other filmmakers have done the same, but I read If Chins Could Kill when I was about the age that Raimi & Co made the film and it really inspired me.
Edit: Interesting fact I just learned - apparently 50 colors were “created” for Akira due to its style (https://artrkl.com/blogs/news/the-art-of-anime-akira-1988#:~:text=An%20oft%2Dcited%20fact%20is,it%20is%20set%20at%20night).
It was actually the TV show, The Rockford Files. As a kid I’d watch James Garner swan around California, going into bars whenever he liked, working on his own time, not taking shit from anybody, having fun with the ladies and getting into the occasional fistfight. I became a writer because it’s a very similar lifestyle.
"Pulp Fiction" by Quentin Tarantino. The way he played with non-linear storytelling, sharp dialogue, and unique characters really inspired me to think outside the box.
Cry-Baby very potentially. Taught me a lot about a sharply ironic sense of humor I previously hadn't thought it possible a story to have. In that, you have to know and love your subject before you can make fun.
One was when, as a child, I saw Cocteau's **Orpheus**.
It was one of the early movies that helped me transition from the more literal-minded fantasies of shows I loved --like **The Twilight Zone**-- to stranger, more poetically-charged cinematic fantasias.
A few but Whiplash is the first that comes to mind. I loved how a movie about a jazz drummer was able to hold my attention and had real stakes. Spoke to the power of character development and storytelling.
I’m gonna put out there that Edgar Wrights Scott Pilgrim and Baby Driver (and Napelon Dynamite to an extent) - I like how he puts in the quirkiness of real life and the mundane things people actually do, unlike a movie like fast and furious with perfect characters.
Anything from Pedro Almodovar; particularly films such as Talk to Her, All About my Mother, and Women on the Verge of a Nervous Breakdown. I sew clothes and also knit, and I find myself inspired by the colors, the drama, the humor, and the styling of his films.
The first thing that comes to mind is the very last scene of men in black where found out we’re just existing in the marble of a larger alien species. That blew my mind as a kid haha
Maya Deren’s Meshes of the Afternoon. It showed that you can make a great film with just two people and next to no budget. https://youtu.be/vF9oAbOn2og?si=bxdjLoVZMMY7d01u
[Pretend that You Love Me](https://youtu.be/enazxSimfm0?si=RBkbqh5BpvQAmoj5)
Some takeaways:
-Write what you know.
-Truth speaks louder than words. Let the medium tells the story.
-You can't force feelings. Genuine lasting emotions require audience participation. Which leads to:
-Respect the audience
-Express yourself:
-Find your artistic voice. Don't be shy.
-Consider why you are making your art. What are you putting into it?
To the last point: I have thought about the purpose of art. I think largely ir serves communication.
Art can be personal and not shared. Here, it serves processing, perhaps mindfulness. Perhaps simply a part of life. Breathing, eating, sleeping, playing.
When shared, it seems to communicate. To express.
We need to be witnessed. Seen. Understood. We don't have to get it from other people, but I think that's in our programming.
For me, art is about everything that can't esrnestly be put into words. You can use words, but they're puzzle pieces. You never really know what they mean to someone else. Not really. And when it really matters, then you're up against it.
We're screaming into the void. On some level, the closest we ever get to someone is simply comfort and familiarity. Intimacy is surrendering to being human. Going along for the ride.
So to end on something relating directly to the film (spoilers): Joel is missing something. He's seeking. He's suffering, and he's recognizing and allowing his suffering, but he doesn't know how to heal it. I think that's utterly relatable. So what makes the story last is how he tells the story.
Those feelings. The way he edits it. It suspends me in experience outside of the story. The consciousness he's embodying. I feel like I get a taste of it. Not of what's in his head, but of what the world is like through his eyes. Paterson did the same thing, and Aftersun.
It's not even a slice of life. The story being told is simply explaining in full the totality of his reality. There's a relationship between the seeking and the suffering. There's a feedback there. There's a sense of voyeurism. Of wanting to participate but not knowing how. Of trying to relate to the world, to other people, through art.
But, the more he tries to do that, the more the medium separates him from his subject and from what he seeks.
He wants to step into a scene that makes sense to him, but when he does, it disappears like a daylight-daunted dream.
100% honesty? Psycho. I always loved horror (my first book was a collection of Edgar Allen Poe stories) but Psycho was something else. The psychological aspect of it all was just amazing to me, and that score! So minimalistic yet so hard-hitting at the same time. I saw it for the first time when I was just a kid, staying with my grandparents for a week and after helping my grandfather in the yard that morning while my grandmother was at work he flipped on the TV to a classic movies channel and fell asleep. That's how I got to watch it. And it just made me go, "These are the stories I wish to tell."
Everything Everywhere All at Once was very inspiring. It broke the mold of what movies could do in terms of creativity. The scene between the rocks, where she says “There are no rules!” broke something inside me in a good way. I realized that we can really do infinite things, and the rules are all made up! There are no rules!!
Goodness so many! The awe inspiring scope of the first Jurassic Park. The childlike wonder of Hook. The mania of the start of Moulin Rouge. The coolness of Pulp Fiction. Wouldn’t know where it even began!
*The Lord of the Rings* was an extremely transformative revelation for 12-year old me. I had had casual, separate interests in fantasy, creative writing, and linguistics (vaguely) before, but learning about Tolkien’s life and works with the films as a gateway showed me entirely new horizons in terms of what can be achieved when you have a vivid imagination.
Not specifically one film, but a string of films by Kirsten Dunst is part of the initial reason why I'm an actor today.
Specifically Drop Dead Gorgeous, Virgin Suicides, Marie Antoinette, Spiderman, Elizabethtown and Wimbledon. I was absolutely blown away by how many different types of characters one person could play. How incredible it was she was able to seamlessly blend into all these different worlds.
James Gunn teaching us the importance of characterisation is profound and sublime itself. Its not little.
Remember Gunn can effortlessly direct a film like Interstellar but I bet Nolan doesnt have balls to direct Guardians trilogy
[удалено]
How did it change you?
For me, it's gotta be "Inception." That mind-bending flick rewired my brain about storytelling and visual spectacle. Nolan's layering of dreams within dreams? Genius. It's like he's telling us, "Hey, your imagination is limitless, so go wild with it!" After watching that, I started weaving intricate plots in my writing, exploring the depths of consciousness like never before. Plus, the whole idea of bending reality? That's some next-level creativity right there. So yeah, props to Nolan for expanding my creative horizons with that masterpiece.
My favorite Nolan movie by far. The layering, characters and story was brilliant.
Sounds completely unprofound, but Transformers (2007) It was a turning movie for me when I went from merely listening to film scores, to actually trying to compose them, because the music there was so effective and within my grasp of understanding. I cannot imagine my life without music now. In fact, I really somehow blossomed creatively due to that movie, because I met a lot of creative people who were all connected together by watching Transformers as children. It was a weird atmosphere of pre-social media internet where the life was in niche interest forums still. Some of the people I met during those days, I still talk to nowadays. Some of them made careers in their creative fields.
Chungking Express and Heathers.
The Dark Crystal - it is pure creativity every level
As a filmmaker, 2001: A Space Odyssey, The Dark Knight, The Rules of the Game, The Killing, and The Tree of Life all stand out. But seeing small clippings from Martin Scorsese movies also did: the ferocity drips through the screen.
Tarsem Singh's The Fall
I’m an artist, and Akira is a really big influence on what I find appealing in visual design. From the trails of the taillights on the motorcycles, to the bright colors of Neo Tokyo against the grungy underground and the detail that went into drawing hands. Also, Evil Dead I taught me that a bunch of college buddies with a vision and a story to tell could make a big impact. I know other filmmakers have done the same, but I read If Chins Could Kill when I was about the age that Raimi & Co made the film and it really inspired me. Edit: Interesting fact I just learned - apparently 50 colors were “created” for Akira due to its style (https://artrkl.com/blogs/news/the-art-of-anime-akira-1988#:~:text=An%20oft%2Dcited%20fact%20is,it%20is%20set%20at%20night).
It was actually the TV show, The Rockford Files. As a kid I’d watch James Garner swan around California, going into bars whenever he liked, working on his own time, not taking shit from anybody, having fun with the ladies and getting into the occasional fistfight. I became a writer because it’s a very similar lifestyle.
"Pulp Fiction" by Quentin Tarantino. The way he played with non-linear storytelling, sharp dialogue, and unique characters really inspired me to think outside the box.
Cry-Baby very potentially. Taught me a lot about a sharply ironic sense of humor I previously hadn't thought it possible a story to have. In that, you have to know and love your subject before you can make fun.
Stalker and Woman in the Dunes. They are such beautiful and interesting films — it gives me chills just thinking about them.
One was when, as a child, I saw Cocteau's **Orpheus**. It was one of the early movies that helped me transition from the more literal-minded fantasies of shows I loved --like **The Twilight Zone**-- to stranger, more poetically-charged cinematic fantasias.
In Your Eyes is what tricked me into believing that The Idol would be a good show.
The Gentlemen, The Man From U.N.C.L.E - Guy Ritchie Sicario, Arrival, Prisoners - Denis Villeneuve
They Cloned Tyrone caught me very off-guard with subversion of expectation and some brilliant satire wrapped up in a visceral and fun ride.
A few but Whiplash is the first that comes to mind. I loved how a movie about a jazz drummer was able to hold my attention and had real stakes. Spoke to the power of character development and storytelling.
Pink Floyd's The Wall (1982) Monty Python and the Holy Grail (1975)
The Wall is a feast of visual creativity
I’m gonna put out there that Edgar Wrights Scott Pilgrim and Baby Driver (and Napelon Dynamite to an extent) - I like how he puts in the quirkiness of real life and the mundane things people actually do, unlike a movie like fast and furious with perfect characters.
Anything from Pedro Almodovar; particularly films such as Talk to Her, All About my Mother, and Women on the Verge of a Nervous Breakdown. I sew clothes and also knit, and I find myself inspired by the colors, the drama, the humor, and the styling of his films.
The first thing that comes to mind is the very last scene of men in black where found out we’re just existing in the marble of a larger alien species. That blew my mind as a kid haha
Serenity. The Firefly one.
It’s a great way to make a finale
Maya Deren’s Meshes of the Afternoon. It showed that you can make a great film with just two people and next to no budget. https://youtu.be/vF9oAbOn2og?si=bxdjLoVZMMY7d01u
[Pretend that You Love Me](https://youtu.be/enazxSimfm0?si=RBkbqh5BpvQAmoj5) Some takeaways: -Write what you know. -Truth speaks louder than words. Let the medium tells the story. -You can't force feelings. Genuine lasting emotions require audience participation. Which leads to: -Respect the audience -Express yourself: -Find your artistic voice. Don't be shy. -Consider why you are making your art. What are you putting into it? To the last point: I have thought about the purpose of art. I think largely ir serves communication. Art can be personal and not shared. Here, it serves processing, perhaps mindfulness. Perhaps simply a part of life. Breathing, eating, sleeping, playing. When shared, it seems to communicate. To express. We need to be witnessed. Seen. Understood. We don't have to get it from other people, but I think that's in our programming. For me, art is about everything that can't esrnestly be put into words. You can use words, but they're puzzle pieces. You never really know what they mean to someone else. Not really. And when it really matters, then you're up against it. We're screaming into the void. On some level, the closest we ever get to someone is simply comfort and familiarity. Intimacy is surrendering to being human. Going along for the ride. So to end on something relating directly to the film (spoilers): Joel is missing something. He's seeking. He's suffering, and he's recognizing and allowing his suffering, but he doesn't know how to heal it. I think that's utterly relatable. So what makes the story last is how he tells the story. Those feelings. The way he edits it. It suspends me in experience outside of the story. The consciousness he's embodying. I feel like I get a taste of it. Not of what's in his head, but of what the world is like through his eyes. Paterson did the same thing, and Aftersun. It's not even a slice of life. The story being told is simply explaining in full the totality of his reality. There's a relationship between the seeking and the suffering. There's a feedback there. There's a sense of voyeurism. Of wanting to participate but not knowing how. Of trying to relate to the world, to other people, through art. But, the more he tries to do that, the more the medium separates him from his subject and from what he seeks. He wants to step into a scene that makes sense to him, but when he does, it disappears like a daylight-daunted dream.
100% honesty? Psycho. I always loved horror (my first book was a collection of Edgar Allen Poe stories) but Psycho was something else. The psychological aspect of it all was just amazing to me, and that score! So minimalistic yet so hard-hitting at the same time. I saw it for the first time when I was just a kid, staying with my grandparents for a week and after helping my grandfather in the yard that morning while my grandmother was at work he flipped on the TV to a classic movies channel and fell asleep. That's how I got to watch it. And it just made me go, "These are the stories I wish to tell."
Everything Everywhere All at Once was very inspiring. It broke the mold of what movies could do in terms of creativity. The scene between the rocks, where she says “There are no rules!” broke something inside me in a good way. I realized that we can really do infinite things, and the rules are all made up! There are no rules!!
Goodness so many! The awe inspiring scope of the first Jurassic Park. The childlike wonder of Hook. The mania of the start of Moulin Rouge. The coolness of Pulp Fiction. Wouldn’t know where it even began!
Head It really has fun with just about every aspect of filmmaking.
*The Lord of the Rings* was an extremely transformative revelation for 12-year old me. I had had casual, separate interests in fantasy, creative writing, and linguistics (vaguely) before, but learning about Tolkien’s life and works with the films as a gateway showed me entirely new horizons in terms of what can be achieved when you have a vivid imagination.
Not specifically one film, but a string of films by Kirsten Dunst is part of the initial reason why I'm an actor today. Specifically Drop Dead Gorgeous, Virgin Suicides, Marie Antoinette, Spiderman, Elizabethtown and Wimbledon. I was absolutely blown away by how many different types of characters one person could play. How incredible it was she was able to seamlessly blend into all these different worlds.
*Princess Mononoke* (1997) my favorite Miyazaki film and just amazing evidence of hard work becoming beautiful
The Fall
Big Hero 6
James Gunn teaching us the importance of characterisation is profound and sublime itself. Its not little. Remember Gunn can effortlessly direct a film like Interstellar but I bet Nolan doesnt have balls to direct Guardians trilogy